Review: Magic Realism: Art in Weimar Germany 1919-33

My latest review for Church Times is of Magic Realism: Art in Weimar Germany 1919-33 at Tate Modern.

Two of the artists included, Albert Birkle and Herbert Gurschner, were part of an under-recognised strand of artists at this time (including, in the UK, Eric Gill, David Jones, Winifred Knights, Stanley Spencer, and others) for whom religious iconography did retain spiritual significance, and who produced work that was both original and modern as a result. One of many interesting aspects to this exhibition, and the earlier linked “Aftermath” exhibition, is that the curators have recognised this and reflected it as part of the rich tapestry of modernism, instead of overlooking it on ideological grounds, as others have in the past.

This new recognition on the part of curators is also apparent in Bill Viola / Michelangelo: Life, Death, Rebirth at the RA which explores resonances in both artists’ treatment of the fundamental questions of life and its meaning. As Ben Quash pointed out today at a study day on Art & Theology, an exhibition that aims to journey through the cycle of life by taking us closer to the spiritual and emotional power of the art works is a relatively new development in curation.

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David Bowie - Where Are We Now?

Artlyst: Art And The Consequences Of War Explored In Two Exhibitions

My latest piece for Artlyst is an article about the linked exhibitions, ‘Aftermath: Art in the Wake of World War One’ at Tate Britain and ‘Magic Realism: Art in Weimar Germany 1919 – 33’ at Tate Modern. Both feature many of the same German artists, while Aftermath also includes British and French artists from the same period:

'In a move suggesting that mainstream curating has now accepted the validity of a continuing but fractious relationship between art and faith as a strand within modernism, both feature artists who depicted biblical stories in contemporary settings to reflect on the consequences of war (including Winifred Knights, Stanley Spencer and Albert Birkle). ‘Magic Realism’ has a room exploring Faith (including Birkle and Herbert Gurschner), while ‘Aftermath’ includes Georges Rouault’s series Miserere et Guerre (Mercy and War), adapting biblical imagery to reflect on contemporary experience.'

My other Artlyst articles and interviews are:

• Helaine Blumenfeld Translating Her Vision
• Alastair Gordon A Testament To His Faith
• Sacred Noise: Explores Religion, Faith And Divinity
• Bill Viola: Quiet Contemplative Video Installation St Cuthbert’s Church Edinburgh
• The ground-breaking work of Sister Corita Kent
• Katrina Moss Chaiya Art Awards Interview: Where is God in our 21st century world?
• Picasso To Souza: The Crucifixion Imagery Rarely Exhibited
• Apocalypse Now: Michael Takeo Magruder Interviewed
• Jonathan Anderson: Religious Inspirations Behind Modernism
• Michael Takeo Magruder: De / coding the Apocalypse – Panacea Museum
• Giorgio Griffa: The Golden Ratio And Inexplicable Knowledge
• Arabella Dorman Unveils New Installation At St James Church Piccadilly
• Can Art Transform Society?
• Art Awakening Humanity Conference Report
• Central St Martins in the Fields Design Then And Now
• The Sacramental And Liturgical Nature Of Conceptual Art
• Caravan – An Interview With Rev Paul Gordon Chandler On Arts Peacebuilding
• Art Awakening Humanity Alexander de Cadenet Interviewed
• Polish Art In Britain Centenary Marked At London’s Ben Uri Gallery
• Michael Pendry New Installation Lights Up St Martin In The Fields;
• Mark Dean Projects Stations of the Cross Videos On Henry Moore Altar;
• Refugee Artists Learning from The Lives Of Others;
• The Religious Impulses Of Robert Rauschenberg;
• The Christian Science Connection Within The British Modern Art Movement;
• Artists Rebranding The Christmas Tree Tradition;
• Art Impacted - A Radical Response To Radicalisation;
• The Art of St Martin-in-the-Fields; and
• Was Caravaggio A Good Christian?

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George Harrison - Give Me Love (Give Me Peace On Earth).